The Newsletter of the ITALIAN ART SOCIETY XXIV, 1 Winter 2012

An Affiliated Society of the College Art Association, Society of Architectural Historians, and the

Renaissance Society of America President’s Message from Kirstin Noreen also through the sponsorship of the Kress Foundation, on

―Kairo. On the Efficacy of a Classical Motif in Italian February 1, 2012 Medieval Art‖ at the International Congress on Medieval

Studies in Kalamazoo in the IAS session dealing with Italian Dear Italian Art Society Members: Art and the Confluence of Cultures. Competition was

particularly strong for funding, with numerous worthy It is with pleasure that I would like to announce the applicants for these grants. We encourage members to apply speaker of the third annual Italian Art Society-Kress for all of these opportunities in the future; details and Foundation Lecture Series in Italy, which this summer deadlines are posted on the IAS website. will take place in Venice. On June 6, 2012, Debra

Pincus will speak on ―The Lure of the Letter: We are considering some changes in IAS procedures that we Renaissance Venice and the Recovery of Antique hope will allow greater access for more members to IAS Writing‖ at the Palazzo Cavalli-Franchetti, seat of the activities and positions. By the time of this newsletter, you Istituto Veneto di Scienze, Lettere ed Arti. More details will have received a link for a survey related to IAS grant will be circulated through the Notes of the Society and offerings and to the voting process for electing officers and posted on our website and Facebook page. committee members. We are currently evaluating the types

of funding that would be most useful to the membership and I am also happy to congratulate the 2012 recipients of whether or not a slightly higher membership fee for the IAS funding awarded to support the presentation of papers should be used to support new grant opportunities. Your about the art or architecture of Italy. The IAS offers two opinions, as expressed through this survey, will help to Travel Grants of $500 each to graduate students and shape future IAS grants. Further, the IAS is considering the recent Ph.D.s to subsidize conference presentations. use of on-line voting for the election of new Karen Lloyd, Visiting Assistant Professor at Tulane officers/committee members. Unlike many of our peer University, has received an award to present ―A New organizations, the IAS continues to approve our new slates Samson: Scipione Borghese and the Representation of during the business meeting at CAA. With increasing Nepotism in the Vatican Palace‖ at CAA and Kristin international membership and more limited travel funding, Huffman Lanzoni, Visiting Assistant Professor at Duke many members are unable to attend this yearly gathering; University, is the recipient of a grant to present ―Ducal on-line voting would therefore provide the opportunity for Fraternity and Family Glory: Girolamo and Lorenzo greater engagement of the membership in the election Priuli‖ at RSA. process. The results of the survey will be discussed at the

IAS business meeting at CAA and be posted on the IAS In addition to these two grants, the IAS also provides website. Additional thoughts or comments on grant support, through the generosity of the Kress Foundation, offerings or the voting procedure can also be directed to me to U.S. or foreign scholars traveling from abroad to at [email protected]. If approved by the present papers in IAS-sponsored sessions. In 2012, Dr. membership via the survey, on-line voting will necessitate Michele Luigi Vescovi will receive a Kress-funded grant an amendment to the current IAS by-laws; the text of this to speak on ―Defining Territories and Borders in Italian revision will be sent to the membership for a final vote Romanesque Architecture: Regions, Sub-regions, Meta- following CAA. regions‖ in the IAS session Territory and Border:

Geographic Considerations of Italian Art and For those attending CAA in Los Angeles in February, the Architecture at CAA. Dr. Daniele Rivoletti has been IAS will be sponsoring two stimulating sessions: Urbanism awarded funding to discuss ―Pinturicchio‘s Coronation in Italy: From the Roman City to the Modern Age, chaired of Pius III: The Interests of a Family in a Republican by Areli Marina and Phillip Earenfight as well as Territory Context‖ at the RSA meeting in the IAS-sponsored and Border: Geographic Considerations of Italian Art and session on Public Art and Contested Spaces in Early Architecture, chaired by Nicola Camerlenghi and Catherine Modern Italy. Dr. Christine Ungruh will present a talk, IAS Newsletter, Winter 2012, p. 2 McCurrach. Details of these sessions are found below in Berlin museums. This meant integrating various art forms, this newsletter. I look forward to seeing many of you at with attention to themes and functions, in what Bode, a our business meeting on Friday, February 24, 2011, 7:30- disciple of Jacob Burckhardt, conceived as a museum of the 9:00 am in Concourse Meeting Room 406AB; as usual, Renaissance. continental breakfast will be served and all members are welcome. The show traces the ―geography of likeness,‖ as Patricia Rubin aptly terms it. In the eight New York galleries the Looking further ahead, the IAS will also sponsor republics bracket the courts, with the first four galleries numerous sessions at RSA in Washington, D.C. in assigned to Florence, and the final one to Venice. Two wall March. Joaneath Spicer has organized the session The colors—deep indigo blue and warm beige—alternate with Appeal of Sculpture in Renaissance Italy: Collecting, expressive effect. The dark blue in the first room heightens Patronage, Style, and the Role of Touch, which will be the luminous presence of Donatello‘s gilded bronze chaired by Eleanora Luciano. Further, three linked reliquary of San Rossore, a forerunner of the Renaissance sessions organized by Felicia M. Else will deal with portrait bust. The saint, imagined with a contemporary‘s Public Art and Contested Spaces in Early Modern uneasy face, appears all the more provocative next to the Italy: Sacred and Communal Spaces: Pisa, Siena and relatively inexpressive profiles of men that constituted the Venice and Princely and Papal Power: Genoa, first independent painted portraits in Florence. The second Lombardy and Rome will both be chaired by Felicia room gives an impression of daylight with Florentine images Else; Machinations of Power in the Republic, Duchy and of young women, their beauty proclaiming their virtue as Beyond: Florence will be chaired by George L. Gorse. explored in the exhibition of 2001/2 in Washington. Niccolo Fiorentino‘s 1486 medal of Giovanna degli Albizzi, Best, with the flow of bronze becoming the flow of her curls, has a Kirstin place near the earlier profile panels by the Pollaiuolo brothers. These delicate SPECIAL FEATURES and by definition inaccessible figures contrast with the vivacious marble bust The Renaissance Portrait from Donatello to known as ―Marietta Strozzi‖, an iconic Bellini: Objects and Installation in the Bode- treasure of the Bode-Museum on its first visit to America, and with the strangely Museum and the Metropolitan Museum of Art intimate informality of the Botticelli By Alison Luchs (National Gallery of Art) woman at a window. The comparatively immense Botticelli

panel of a woman gowned as a goddess, often identified as Dedicated to the rise of the Simonetta Vespucci, suggests the difference between a autonomous secular portrait in portrait and a cult image. fifteenth-century Italy, this exhibition stands out both for the important works assembled and its focus on the An indigo blue gallery houses four generations of Medici interacting forces that affected portraits, ranging from the sensitive 1465 medal of the portraiture. Subjects and functions, ancient Cosimo to the sprightly terracotta bust identified as political strategies, social and regional his grandson Giuliano, tossing his curls beside the conventions, poetic ideals of beauty, interacting with the downward-gazing Botticelli paintings of Giuliano, which abilities, aspirations and exchanges of artists, and not Weppelmann unconventionally proposes as lifetime least with their media, are addressed in the galleries and portraits. The mask of Lorenzo the Magnificent on the catalogue. opposite wall broaches the topic of Florentine portraits cast from life and death. In Berlin the board on which the mask The number of works of sculpture, with subjects similar is mounted, above an elegiac verse, was inclined at a 30 or even identical to those of the paintings or drawings, degree angle as if to place viewers at Lorenzo‘s deathbed. makes the paragone a subtheme. The gallery dedicated In New York Lorenzo confronts us straight on, charismatic to the court portrait 1470-1500 in Mantua, Rome, even in posthumous plaster, a disconcerting hint of a smile at Urbino, and Naples, for instance, contains nine busts, one corner of his mouth. Placed in the center of the gallery two marble reliefs, two medals, a cameo, and ten for viewing in the round, is the bust of his father Piero, in paintings. The organizers, Keith Christiansen and Stefan which Mino da Fiesole reinvented the ancient genre of the Weppelmann who are both curators of paintings, deserve marble portrait bust around 1453. The younger Piero, credit for this comprehensive approach, heralded by the Lorenzo‘s son, stares from the introductory page of a Greek differently-focused Renaissance Faces exhibition at the first edition of Homer of 1488, endowed by the miniaturist National Gallery, London in 2008/9. As the directors‘ Gherardo di Giovanni with a composure that little foretells introduction states, they collaborated with Bode-Museum the subject‘s tragic incompetence. head of sculpture Julien Chapuis to pursue the vision of Wilhelm Bode, early twentieth-century director of the In the next gallery of other male Florentines, three sculpted IAS Newsletter, Winter 2012, p. 3 portraits of the banker Filippo Strozzi, terracotta and celebrating their beauty or wealth might have appeared marble busts by Benedetto da Maiano and a medal by immodest on many levels. The few recorded are exceptional Niccolo Fiorentino, invite consideration of the choices an cases, often foreigners or associated with poetry, like artist had to make in drawing out Bembo‘s mistress Maria Savorgnan, the subject of a lost (ritrarre) a likeness from nature for Bellini painting, or Girolama Corsi different purposes. A star here is the Ramos, a poet herself, who may be the newly cleaned Andrea del Castagno clear-eyed woman portrayed by panel dated to the 1450s, discussed by Carpaccio, unusually active with her hand Christiansen as the earliest surviving gripping a book. Caterina Corrnaro, the portrait in three-quarter view, the Venetian patrician widow of the King of expression and vigorous grip on a cloth Cyprus who was obliged to renounce her band asserting a boldness that foretells the power of late throne in favor of the Republic, is quattrocento portraits in Florence and Venice. Works portrayed by Gentile Bellini drained of any queenly like this one, and the Antonello da Messina portraits in charisma, her bosom sagging under a brown dress, her eyes the Venice gallery, embody the call from writers like scarcely bigger than one of her pearls. Bartolomeo Fazio, cited in Beverly Brown‘s essay, for portraitists to go beyond the representation of the The installations in Berlin and New York differed in often subject‘s face and capture ―far more, of its interior stimulating ways. In Berlin the Alberti bronze self-portrait feelings and emotions…in short, whatever has to do with relief appeared among fellow Florentines, in New York the mind.‖ among his north Italian courtly patrons. Berlin set him beside the Matteo de‘ Pasti medal of some 20 years later The psychological temperature drops in the blue gallery (1454), contrasting the antiquarian poetry of his lifted gaze, dedicated to north Italian courts: Milan, Ferrara, and twisting mantle and touseled hair with Matteo‘s affectionate Rimini, where Pisanello‘s mastery of the portrait medal modern-dress prose. In Berlin the marble ‗Marietta Strozzi‘ emerged in the 1430s. Most are profiles—painted, stood next to the Bargello‘s rugged painted terracotta bust of medallic and marble--evoking the lofty examples of Niccolo da Uzzano. Jarringly different in material and Roman coins and the sanctity of donor portraits to fix subject, the two shared not only attributions to Desiderio da recognizable features of subjects whose aristocratic gaze Settignano, but turning poses with alert gazes that appear pointedly ignores the viewer. Yet Pisanello‘s charcoal responsive to their environment, a leitmotif that unites many and chalk drawings, suggesting thought and vulnerability of the Florentine portraits. This quality seemed to lay even in the unlovely Duke Filippo Maria Visconti, foundations for the Leonardo da Vinci portrait of Cecilia remind us of the human sympathy such an artist could Gallerani, mistress of Duke Ludovico Sforza of Milan, the infuse even into a profile. culminating work in the Berlin installation before its departure for the Leonardo exhibition in London. In an In Venice, where patrician ideology inspired conjunction, Cecilia in Berlin appeared turning exalted the community above its from her exedra installation toward Giancristoforo individual members, the Romano‘s exquisite marble bust of her autonomous portrait came relatively lover‘s young bride, Beatrice d‘Este c. late and with modest dimensions. 1490. That must have been the ultimate Giovanni Bellini‘s subjects stare paragone. In New York, the bust of into the distance, seemingly Beatrice shares a gallery with the gold preoccupied with noble medal of her sister Isabella d‘Este by the contemplation rather than earthly same sculptor, as well as with the action. The Venice gallery concentrates less on the Metropolitan Museum‘s Francia painting typical than the exceptional, including Antonello da of Beatrice‘s ten-year-old nephew, Federigo Gonzaga, to Messina, whose Venetian sojourn in the mid 1470s whom her slightly pear-shaped face bears a striking family shook conventions with his three-quarter views of resemblance. Nearby are three marble busts of boys, also subjects whose eyes, turning back toward us, dare ascribed to Giancristoforo Romano, including the viewers to decode the mind, preparing the ground for captivating child with parted lips from the Ca‘ d‘Oro, Giorgione. Equally exceptional is Mantegna‘s portrayal Venice. This presents a rare occasion to study their of the Venetian cardinal, general and antiquities attributions, discussed by Francesco Caglioti, not only the collector, Ludovico Trevisan, c. 1460, with a sculptural adjacent Beatrice bust but also the terracotta and marble presence consistent with his determined face, setting off busts of Cardinal Raffaele Riario by Andrea Bregno, the conservative character of Gentile Bellini‘s traditional arguably an influence on Giancristoforo. Children‘s profile of Doge Pasquale Malipiero, almost exactly portraiture is another subtheme scattered through the show. contemporary. Early Venetian portraits of women are The decorous forward stares of the smooth little marble scarce, as Peter Humfrey notes. With their identities faces attributed to Giancristforo, connect them to the gaze of submerged into their husbands‘ families, images young Guidobaldo da Montefeltro in the same room, IAS Newsletter, Winter 2012, p. 4 expressionless even as he leans on his lordly father‘s important than what art was for, and why it looks the way it knee. These again contrast with the responsive vivacity does. of Florentine images: Desiderio da Settignano‘s marble Laughing Boy from Vienna, present in Berlin only, and Masters of Venice: Renaissance Painters of Passion the Ghirlandaio portraits in which young boys fix their and Power from the Kunsthistorisches Museum, elders with the attentive gaze essential to memory. Vienna By Lisa Boutin (Loyola Marymount University) The works and their relationships offer stimulation for scholars of painting, drawing, and sculpture, of social, The exhibition Masters of Venice at the de political and literary history, inviting dialogue. The Young Museum in San Francesco is a rare group of drawings in New York differs from that in presentation of Venetian paintings in the Berlin, but both included such key works as the black western United States. Exhibitions of chalk portrait of a man from the Albertina for Venetian art have been limited to consideration of its controversial relationship with the Washington D.C. and New York in recent Buonsignori painting of the same subject from London, years, such as the 2006 exhibition at the and the Mantegna black chalk portrait of a man in a fur- National Gallery in Washington D.C., trimmed coat from Besancon, placed by George Goldner Bellini, Giorgione, and Titian and the Renaissance of ―among the most sculptural drawn portraits of the Venetian Painting and the current exhibition at the fifteenth century.‖ Paintings by Rogier van der Weyden Metropolitan Museum of Art, Art in Renaissance Venice, and Memling in several rooms point up the warm 1400-1515: Paintings and Drawings from the Museum's reception among Italian portraitists for their three-quarter Collections. The staff at the de Young Museum took views, landscape backgrounds, and luminous oil advantage of the temporary de-installation of the Venetian technique. painting galleries at the Kunsthistorisches Museum, and in collaboration with the Gemäldegalerie, organized this The catalogue entries, even those advancing presentation of some of the most famous Venetian paintings controversial attributions or dates, provide the foundation of the fifteenth and sixteenth centuries. for further work, and essays on the development of the portrait in different settings are immensely valuable. When entering the special exhibition galleries, the visitor is Rubin, who notes that devotional works far outnumbered greeted with immense color photomurals of the Piazza San portraits in the fifteenth century, constantly calls our Marco and the Ca‘ d‘Oro that suggest the distinctive color attention back to the balancing act that conditioned any and light of Venice. The paintings in the exhibition are portrait. She appositely quotes Aby Warburg: ―In a divided by artist and organized chronologically with the living art of portraiture, the motive forces of evolution do exception of the first two galleries. The first gallery not reside solely in the artist; for there is intimate contact highlights their provenance through wall text that discusses between the portrayer and the portrayed …Either the the history of Habsburg collecting and the creation of the patron wants his appearance to conform to the currently Gemäldegalerie of the Kunsthistorisches Museum. It dominant type, or he regards the uniqueness of his own features large interior and exterior photographs of the personality as the thing worth showing; and he Kunsthistorisches Museum and a reproduction of David accordingly edges the art of portraiture toward the Teniers the Younger‘s painting Archduke Leopold Wilhelm typical or towards the individual.‖ in His Gallery in Brussels (ca. 1650). Four paintings illustrated in David Teniers the Younger‘s painting are part Many authors note the rising consciousness of ways in of the exhibition, including Giorgione‘s Three Philosophers which, as in the oft-cited passage from Alberti‘s De and Titian‘s portrait of Jacopo Strada. In the second gallery, pictura, a likeness could not only make the absent portraits by Titian, Tintoretto, and other artists are intended present and confer immortality, but also elicit ―deep to illustrate the traditions of Venetian society. admiration for the artist.― Weppelmann and Humfrey point to the artistic exploration of expression that led into The chronological presentation of Venetian artists begins in a new world toward the end of the fifteenth century. the third gallery with an impressive variety Rudolf Preimesberger finds hints in Alberti (noting of works by Andrea Mantegna. The artworks significant differences in the Italian and Latin versions) in this small gallery demonstrate Mantegna‘s of the view, centuries later, that portraiture is a less sculptural style and include a painting of exalted art than historia because of the ―obligatory Saint Sebastian (ca. 1457–1459), engravings verisimilitude‖ which wins praise for skillful imitation with classical and religious subjects, and two but implies less need for creative imagination. As the small paintings created in imitation of relief century drew to a close, portraitists increasingly sculpture (David with the Head of Goliath challenged that implication. This beautiful exhibition, and Sacrifice of Isaac). The painting of Saint reminding us that even the most skillful imitation of Sebastian represents the earliest surviving nature must be selective, addresses questions no less depiction of the saint by Mantegna. Two later versions IAS Newsletter, Winter 2012, p. 5 reside in the collections of the Louvre and the Ca‘ d‘Oro. IAS-Kress Lecture in Venice 2012 The exhibition then transitions to the sixteenth century with galleries dedicated to important works by Giorgione The speaker in the third annual Italian Art Society-Kress and Titian. The Giorgione gallery includes The Three Foundation Lecture Series in Italy will be Philosophers (ca. 1508-1509) and Laura (1506). The Debra Pincus, who will present a lecture wall labels explain enigmatic qualities of these paintings entitled, ―The Lure of the Letter: and briefly summarize several scholarly interpretations Renaissance Venice and the Recovery of of each work. The adjacent gallery of Titian paintings Antique Writing.‖ The event will take includes the portrait of Isabella d‘Este (ca. 1534-1536), place at the Palazzo Cavalli-Franchetti, marchioness of Mantua, in which the artist famously seat of the Istituto Veneto di Scienze, depicted the marchioness as an idealized young woman Lettere ed Arti on June 6, 2012. while she was in her sixties.

The larger exhibition galleries that follow include Summer Teachers Institute in Technical Art classical narratives or poesie, including a version of History 2012 Danaë (ca. 1560) by Titian. Paintings of mythological subjects and belle donne by lesser known sixteenth- The second Summer Institute in Technical Art History century artists who worked in the Veneto, such as Paris (STITAH) will take place July 23-27, 2012 at Yale Bordone and Palma Vecchio, are featured in the next University, New Haven, CT. The week-long Institute on the gallery. The final two galleries are dedicated to technical study of old master paintings and works of art on Tintoretto and Veronese. The Tintoretto gallery features paper will be hosted by Yale University Art Gallery and the the artist‘s version of Susanna and the Elders (ca. 1555- Yale Center for British Art, in partnership with the Institute 1556) that emphasizes Susanna‘s nude body. The of Fine Arts, New York University. STITAH, through the Veronese gallery concludes the exhibition with a large generous support of the Samuel H Kress Foundation, will painting of the anointing of David depicted in a offer a unique professional development opportunity for decidedly Venetian setting. Masters of Venice is an teachers of art history in colleges and universities wishing to exciting and unusual exhibition for the Fine Arts integrate the lessons and methods of technical art history Museums of San Francisco. Although the Venetian into their own teaching. The program will include lectures, Renaissance paintings in the exhibition are quite hands-on workshops and visits to collections and different in subject and style from most of the works of conservation laboratories and will draw on the rich art in the permanent collections of the de Young collections of the Yale Art Gallery and the Center for British Museum, the directors and curators should be Art. Participants will be limited to 15. Accommodation, a commended for endeavoring to bring this impressive per diem and all materials will be provided. For further collection to San Francisco. One can hope that this is the information, please contact Sarah Barack at [email protected]. beginning of increased collaboration between the Fine Last year‘s STITAH program can be found at Arts Museums and important European collections. The http://www.nyu.edu/gsas/dept/fineart/conservation/stitah.ht Masters of Venice is accompanied by a catalogue edited m. by Sylvia Ferino-Pagden and Lynn Federle Orr. The exhibition will be open until February 12, 2012. New Google Group for IAS Graduate Student and

Emerging Scholars Committee Italian Art Society Travel Grants The Graduate Student and Emerging Scholar Committee (GSESC) continues to promote a supportive community of The IAS Travel Grant Committee is pleased to announce emerging student-scholars and recent graduates. Through the recipients of the 2011 IAS Travel grants. Each our growing Google Group we are building an information winner (a doctoral student or recent PhD) receives $500 network that includes calls for papers, fellowship toward the cost of conference travel. Karen Lloyd is opportunities, dissertation lists, and other materials related to currently a Visiting Assistant Professor at Tulane the study of Italian art and architecture. It is a place where University. She will speak on the topic ―A New Samson, colleagues may get in touch with each other for advice on Scipione Borghese and the Representation of Nepotism researching and living in Italy, which includes everything in the Vatican Palace,‖ at the College Art Association from working in archives to finding the best gelato in annual conference in Los Angeles in February. Kristin Florence (La Carraia and Festival del Gelato, in these Huffman Lanzoni, a Visiting Assistant Professor at Duke authors‘ humble opinion). All of our members are University, will present ―Ducal Fraternity and Family encouraged to post in the Google Group. Eligible members Glory: Girolamo and Lorenzo Priuli‖ at the annual include the following: anyone currently enrolled in a masters meeting of the Renaissance Society of America in or doctoral program; anyone who has received a master‘s Washington, D.C. in March. Congratulations! degree within the past four years but who has not yet enrolled in a doctoral program; and anyone who has received IAS Newsletter, Winter 2012, p. 6 a Ph.D. within the past four years. Contact David Boffa NEXUS 2012: Relationships between Architecture ([email protected]) or follow the link from the IAS and Mathematics website. June 11–14, 2012, Milan, Italy http://www.nexusjournal.com/phd-day.html NEH Summer Institute Leonardo da Vinci: (Poster submissions open until February 14, 2012) Between Art and Science Francesca Fiorani, University of Virginia/ EXHIBITIONS Kunsthistorisches Institut in Florenz June 25 – July 13, 2012 Giorgio Vasari - Dessins du Louvre Application deadline: March 1, 2012 October 11, 2011- February 8, 2012 http://faculty.virginia.edu/Fiorani/NEH-Institute The Louvre, Paris http://www.louvre.fr/llv/exposition The NEH invites applications to participate in a collaborative, three-week Institute focused on the works On the occasion of the 500th anniversary of his birth, the of Leonardo da Vinci (1452-1519). The program is Louvre honors Giorgio Vasari, painter, architect and Italian designed to encompass multiple disciplinary writer, through an exhibition of the most beautiful drawings perspectives, including art and architectural history, in the collection. Renaissance studies, the history of science, literature, philosophy and religious studies. Faculty includes Sven Dupré, Marzia Faietti, Frank Fehrenbach, Cecilia Florence and the Baroque: Paintings from the Frosinini, Paolo Galluzzi, Martin Kemp, Domenico Haukohl Family Collection Laurenza, Pietro Marani, Antonio Natali, Jonathan November 5, 2011- February 12, 2012 Nelson, Alessandro Nova, and Carlo Vecce. Crocker Museum of Art, Sacramento, CA https://www.crockerartmuseum.org/about/news-room

CONFERENCES The show brings 14 Italian paintings from the 16th through 18th centuries to Northern California. The artworks are The College Art Association Conference drawn from the largest private American collection of February 22-25, 2012, Los Angeles Florentine Baroque painting and features works by artists http://conference.collegeart.org/2012/sessions/ such as Cesare Dandini, Jacopo da Empoli, and Francesco Furini. In the 16th century a new clarity in color, style, and IAS Business Meeting Friday, February 24, 2012, 7:30- subject began to replace the elegant virtuosity of earlier 9:00am, Concourse Meeting Room 406AB painting. Cesare and his brother Vincenzo, their nephew ―Urbanism in Italy: From the Roman City to the Modern Pietro, and Pietro's son Ottaviano are seen here in Age,‖ Friday, February 24, 12:30–2:00 pm, Concourse mythologies, religious scenes, and allegories. The exhibition Meeting Room 406AB also provides insight into the history of frame making. ―Territory and Border: Geographic Considerations of Italian Art and Architecture‖ Saturday, February 25, La Bella Italia: Arte e Identita` delle Citta` Capitali 2:30–5:00 pm, West Hall Meeting Room 502B October 11, 2011- March 4, 2012 Palazzo Pitti, Florence South-Central Renaissance Conference www.lavenariareale.it March 8-10, 2012 New Orleans, LA http://scrc.us.com/cfp_scrc2012.shtml This major exhibition, held in both Florence Renaissance Society of America and Turin, celebrates March 22- 25, 2012, Washington, D.C. the 150th anniversary http://www.rsa.org/?page=Washington2012 of the unification of Italy. It examines the Society of Architectural Historians unique cultural and artistic identities and histories of the April 18-22, 2012, Detroit, MI various capitals of the pre-unification Italy, to whit Turin, http://www.sah.org/index.php?src=gendocs&ref=Home Florence, Milan, Venice, Genoa, Bologna, Naples and %202012&category=Annual%20Meeting%20Detroit%2 Palermo. More than 300 masterpieces bear witness to the 02012 progress of art from ancient times up to 1861. The roll call of artists on show is impressive: Giotto, Beato Angelico, International Congress of Medieval Studies Donatello, Botticelli, Leonardo, Raphael, Michelangelo, May 10-13, 2012 Kalamazoo, MI Correggio, Bronzino, Titian, Veronese, Caravaggio, Rubens, http://www.wmich.edu/medieval/congress/sessions.html Tiepolo, Canova, Hayez and many more. IAS Newsletter, Winter 2012, p. 7 Masters of Venice: Renaissance Painters of copies. The show has smashed attendance records, and is Passion and Power sold out. October 29, 2011-February 26, 2012 De Young Museum of Art, San Francisco The Renaissance Portrait from Donatello to Bellini http://deyoung.famsf.org/deyoung/exhibitions December 21, 2011–March 18, 2012 The Metropolitan Museum of Art, New York The exhibition brings more than This exhibition brings together approximately 160 works— fifty paintings, by artists including Donatello, Filippo Lippi, Botticelli, dating 1500- Verrocchio, Ghirlandaio, Pisanello, Mantegna, Giovanni 1570, to San Bellini, and Antonello da Messina, and in media ranging Francisco. These include five paintings by Giorgione, from painting and manuscript illumination to marble fifteen by Titian, and masterworks by Tintoretto, sculpture and bronze medals, testifying to the new vogue for Veronese and Bordone. They are on loan from and uses of portraiture in fifteenth-century Italy. the Gemäldegalerie of the Kunsthistorisches Museum in Vienna. Featured are outstanding examples of the work Touch and the Enjoyment of Sculpture: Exploring of these artists that were collected by the archdukes and emperors of the Habsburg family. the Appeal of Renaissance Statuettes January 21- April 15, 2012 Walters Art Gallery, Baltimore Antico: The Golden Age of Renaissance Bronzes http://thewalters.org/exhibitions/ The National Gallery of Art, November 6, 2011–April 8, 2012 This show explores the implications of tactile The Frick Collection, New York, May 1- July 29, 2012 perception for enjoying sculpture, studying how http://www.frick.org/exhibitions/future.htm the brain reacts to tactile stimuli from European Renaissance art--a period marked by a new This is the first monographic exhibition availability of small "collectibles" meant to be in the US dedicated to Jacopo Alari held. Related research will be presented at the Bonacolsi, known as Antico (c. 1455– Renaissance Society of America Conference, 1528). As sculptor to the Gonzaga courts Washington, D.C. March 22-25, 2012. at Mantua and in northern Italy, Antico

earned his name, "the antique one," for his creation in the classical style of Tintoretto statuettes, reliefs, and busts that are February 25- June 10, 2012 distinguished by their opulence and beauty. The Scuderie del Quirinale, Rome exhibition aims to shed light on the master's http://www.romeguide.it/mostre/tintoretto/tintoretto.html transformative contribution to this art form, incorporating the results of newly performed technical The exhibition focuses on Tintoretto's research to answer questions about the dating of Antico's work in religion, mythology and works, his technique, and his development as an portraiture, is strictly monographic, and innovative artist. will be divided into sections comprising carefully selected and unquestioned Leonardo da Vinci: Painter at the Court of masterpieces, beginning and ending with his two self-portraits of himself as a young man, from the Milan Victoria & Albert Museum in London, and as an old man, November 9, 2011 –February 5, 2012 from the Louvre. It juxtaposes the Last Supper from the National Gallery of Art, London (Sainsbury Wing) Venetian church of San Trovaso and another version of the http://www.nationalgallery.org.uk/ same subject painted five years later for San Polo.

Inspired by the recently Leonardo da Vinci: "La Sainte-Anne" restored National Gallery March 6 – June 26, 2012 Virgin of the Rocks, this Louvre Museum, Paris exhibition focuses on the work http://www.louvre.fr/ Leonardo da Vinci produced as court painter to Duke Lodovico In celebration of the restoration of da Vinci's Sforza in Milan in the late 1480s and 1490s. It brings Virgin and Child with Saint Anne, all of the together loans like La Belle Ferronière, the Madonna documents that contributed to the Litta, Saint Jerome, and includes the recently discovered understanding of the masterpiece's creation Salvator Mundi, known through two preparatory will be brought together for the first time drawings by Leonardo and more than twenty painted IAS Newsletter, Winter 2012, p. 8 since the artist's death. Studies, drawings, archive pieces Carlo Pedretti discovered Leonardo da Vinci‘s sketch for a and more will be put on display. The restoration has been handbag in 1978. Now it has been brought to life by the extremely controversial, with members of the Advisory Florence fashion house Gherardini, in the form of a Committee resigning over disputes about the level of handmade calfskin bag named ―Pretiosa.‖ cleaning, so the exhibit will be doubly interesting. http://fashion.telegraph.co.uk/article/TMG9021847/Leonard o-da-Vinci-handbag-sketch-brought-to-life.html Guercino 1591-1666. Capolavori Da Cento e Da Roma Reuters reported that London's National Gallery must crack Palazzo Barberini down on the re-sale of tickets to its blockbuster show of December 16, 2011- April 29, 2012 Leonardo da Vinci paintings which were being offered http://www.mostraguercino.it/ online at up to 300 pounds each ($470). http://www.reuters.com/article/2011/11/24/us-leonardo- Guercino was largely self-taught, but very much tickets-idUSTRE7AM1JH20111124 influenced by the Carracci painters and particularly by Ludovico. Art historian Diane de Grazia sums up the 100 original documents from the Popes‘ Archive will leave lasting appeal of his drawings, ―Even in his own day, the Vatican City for the first time for the exhibition ―Lux in artist was admired for his vibrant and calligraphic pen Arcana - The Vatican Secret Archives reveals itself‖ at the sketches.‖ The exhibit includes an overview of works Capitoline Museums, Rome, March 1 to September 9, 2012. from Rome and Cento, revealing his artistic http://en.museicapitolini.org/mostre_ed_eventi/mostre/lux_i development. n_arcana_l_archivio_segreto_vaticano_si_rivela

Leonardo da Vinci: Anatomy The Florentine Opificio delle Pietre Dure has finished restoring the historiated ―Pulpit of Dante‖ of San Leonardo The Queen‘s Gallery, Buckingham Palace in Arcetri. This twelfth-century Florentine sculpture has May 4 –October 7, 2012 narrative scenes and black/ white intarsia. http://www.royalcollection.org.uk/default.asp?action=art http://www.beniculturali.it/mibac/export/MiBAC/sito- icle&ID=945 MiBAC/Contenuti/AreeTematiche/Restauro/RestauriInEvid enza/visualizza_asset.html_1981896663.html The largest ever exhibition of Leonardo da Vinci‘s studies of The search for Leonardo‘s Battle of the Anghiari the Salone the human body will be shown at del Cinquecento, Palazzo Vecchio, continues after tensions The Queen‘s Gallery, during fall 2011. Ongoing bi-monthly reports are found at Buckingham Palace in 2012. http://www.nationalgeographic.com/explorers/projects/anghi Leonardo has long been ari/ recognized as one of the great artists of the Renaissance, but he was also a pioneer in the understanding of human A new database, Art Source, has been developed by EBSCO anatomy. He intended to publish his ground-breaking Publishing and H.W. Wilson. This features full-text articles, work in a treatise on anatomy, and had he done so his detailed indexing, and abstracts for 600 journals, 220 books, discoveries would have transformed European 18,000 dissertations, museum podcasts and 63,000 images. knowledge of the subject. But on Leonardo‘s death in http://www.ebscohost.com/academic/art-source 1519 the drawings remained a mass of undigested material among his private papers and their significance A central clearing house for information on Italian Futurist was effectively lost to the world for almost 400 years. research, exhibitions and publications is found at Today they are among the Royal Collection‘s greatest http://www.italianfuturism.org/ treasures. The Georgia Museum of Art announced the Kress Project, a two-year initiative celebrating the 50th anniversary of the NEWS AND ANNOUNCEMENTS museum‘s Samuel H. Kress Study Collection. The project solicited public responses from all age groups to the 12 ―Longobards in Italy, Places of Power (568-774 AD)‖ Italian Renaissance paintings in the museum‘s Kress was designated a UNESCO World Heritage site in fall Collection. Submissions included academic essays, visual 2011. This ―serial property‖ comprises seven groups of art, choreography, fashion design or even recipes. Responses buildings (fortresses, churches, and monasteries) which will be posted on the museum website beginning February ―testify to the high achievement of the Lombards, who 2012. http://www.georgiamuseum.org/ developed their own specific culture in Italy.‖ http://whc.unesco.org/en/list/1318 Upcoming lectures at the National Gallery of Art, Washington, include Anne Markham Schulz, ―Woodcarving and Woodcarvers in Late Medieval and Early Renaissance IAS Newsletter, Winter 2012, p. 9 Venice,‖ January 15, 2012, and Julian Gardner, ―Side by As a non-profit organization, the IAS seeks donations from Side: Cimabue and Giotto at Pisa,‖ February 5, 2012. individuals and organizations wishing to promote the study Lectures take place at 2 p.m. in the East Concourse of the visual arts and architecture of Italy, from antiquity to Auditorium, National Gallery of Art. the present. Funds will help support the IAS‘s annual http://www.nga.gov/programs/lectures/ operations, including travel grants for graduate students and emerging scholars who are presenting their work at Carl Brandon Strehlke presented a Freedberg lecture at conferences in the USA and abroad, and a lecture series that the National Gallery of Art in November, exploring why fosters exchange between the North American and Italian Berenson selected Lotto as an artist and as a subject for a scholarly communities. The IAS seeks general operating study that he described as "an essay in constructive art contributions, and is also happy to work with donors to criticism." Strehlke is currently overseeing a catalogue of direct contributions toward specific purposes, including the paintings collection of the Villa I Tatti. travel grant support and the establishment of research or http://www.nga.gov/pdf/lecture_freedberg_15th.pdf publication funds. If you have questions, please e-mail Areli Marina, [email protected] William Tronzo, Alison Perchuk and Anne Dunlop spoke at the "Spazio Figurato: Architectural Space and Iconographic Programs in Italy, 1100-1450," in Newsletter Contributions and Notices December 2011 at the Bibliotheca Hertziana, Rome. http://www.biblhertz.it/deutsch/aktuelles/Spazio%20Figu Members are warmly encouraged to write for upcoming rato%20Abstracts.pdf issues of the IAS Newsletter. For the spring issue, we are looking for reviews of the upcoming sculpture shows, as Anne Leader‘s volume, The Badia of Florence: Art and well as more coverage of Medieval, Baroque and Modern Observance in a Renaissance Monastery, was published Italian art and architecture. If you are interested in writing a in December 2011 by Indiana University Press. feature (approximately 800-1200 words) for the next issue, http://www.iupress.indiana.edu/product_info.php?produc please contact Kay Arthur by around March 1 at ts_id=655372 [email protected]. Deadlines for the IAS newsletters are: Fall Newsletter: news deadline September Nicola Camerlenghi published ―Interpreting Medieval 15/ publication October 1; Winter Newsletter: news deadline Architecture through Renovations: The Roof of the Old January 15/ publication date February 1; Spring Newsletter: Basilica of San Paolo Fuori le Mura in Rome,‖ in news deadline April 15/ publication May 1. If you have any Approaches to Byzantine Architecture and its other comments or suggestions, please contact the Decoration: Studies in Honor of Slobodan Curcic, edited Newsletter editor (as above). by Mark J. Johnson and Robert Ousterhout (Ashgate, 2011). Italian Art Society Officers Diana Gisolfi published "Veronese' Unity of Vision in the Story of Esther," in Paolo Veronese: the stories of President: Kirstin Noreen, Loyola Marymount University Esther revealed, edited by G. Manieri Elia (Venice, ([email protected]) 2011). Vice-President: Catheen Fleck, Saint Louis University ([email protected]) The IAS website is now set up to receive gifts. Special Secretary: Catherine McCurrach, University of Michigan thanks to Jodi Cranston and Nicola Camerlenghi for their ([email protected]) donations. Members, please take note of this tax- Treasurer: Areli Marina, University of Illinois deductible gift opportunity. ([email protected]) Chair, Nominating Committee: Sheryl Reiss, University of Italian Art Society Membership and Donations Southern California ([email protected]) http://italianartsociety.org/?page_id=46 Chair, Program Committee: Martina Bagnoli, Walters Art Museum [email protected]) If you have not renewed your 2012 IAS membership by Chair, Travel Grant Committee: Andaleeb Banta, National January 1, 2012, please do so immediately. Members are Gallery of Art encouraged to pay on-line through our user-friendly [email protected]) website. Alternatively, checks may be mailed to Chair, Graduate Student & Emerging Professionals Catherine McCurrach, Secretary, 2366 Heather Way, Committee: David Boffa, University of Maine Ann Arbor, MI 48104. Annual membership costs $20. [email protected] Students receive a special discount rate of $10. Thank Newsletter Editor: Kay Arthur, James Madison University you for your continued membership. Please encourage ([email protected]) other colleagues to join. Webmaster: Alison Perchuk, Occidental College ([email protected])